Alan Goldsher's combination of jazz and EDM is something of a first in American music.
—Jazz Times
Rewind back to 1973. Then fast forward to 2036. Then rewind back to 1982. Then fast forward ahead to 2009. Then rewind back to 1991. Then come home to 2023. Then go back to the first track of Alan Goldsher's latest musical collage, “A Soundtrack in Search of a Movie," and do it all again.
On his seventh album, the bassist / keyboardist / producer delivers a 19-track collection unlike anything in his extensive, diverse discography. This jazzy, funky, hip-hoppy, digital-only set is now available to stream on Apple, Spotify, and all major digital music platforms.
AG: In general, absolutely. But in this case, I don't think so. Most of the tunes clock in around two minutes, kind of like a film soundtrack, thus the album's title. And yeah, 19 five-minute tracks would've been a bit much.
Q: To this point, your previous albums are traditionally formatted: Ten-ish cuts, four-ish minutes per cut. What happened here?
AG: The music dictated the format. I was in a compositional space in which the melody or the groove was enough—no improvisation or elaboration necessary. It wasn't by design; the songs told me what to do, and the songs, for the most part, said, “Two minutes is cool, dude."
Q: If there a precedent for this, something that specifically pointed you in this direction?
AG: Two obscure entities and two others that're more mainstream.
Between the late 1960s and early 1990s, dozens of European composers dropped hundreds of albums that fell under the umbrella of “Library Music," meaning these songs were kept in a metaphorical library for film and television producers looking for soundtrack songs. I'd liken this album, what with its stylistic diversity, its overriding sense of funk, and its quick cuts, to those projects. Then there's composer and arranger David Axelrod, who was also fond of short, funky material.
On the more common tip, the Ocean's 11 soundtrack is another touchstone, as are the Beastie Boys' instrumental recordings.
Q: What are some of your favorite cuts on the album?
AG: I very much dig the opening track, “Bullish and Bearish." It's a bass and piano unison groove with a chill beat, and it sets the album's mood perfectly. “Bo Knows" and “My Favorite Sports" are homages to the New Jack Swing era, and are super-fun. And “Alt Af" is a groove-shifting cut that's, well, alt af.
Q: Finally, who do you envision starring in the movie that adopts this soundtrack?
AG: Anne Hathaway, the entire Ted Lasso cast, Paul McCartney, and Idris Elba. That's doable, right?
To schedule an interview, or to request artwork or downloadable tracks, please write [email protected].
On his seventh album, the bassist / keyboardist / producer delivers a 19-track collection unlike anything in his extensive, diverse discography. This jazzy, funky, hip-hoppy, digital-only set is now available to stream on Apple, Spotify, and all major digital music platforms.
About Alan Goldsher
Alan Goldsher is the founder and CEO of Gold Note Records, a label for which he has released seven albums, five EPs, and 14 singles. Alan has recorded and / or performed with Janet Jackson, Digable Planets, Naughty By Nature, and Cypress Hill. He lives and makes music in Chicago.A Q&A With Alan Goldsher
Q: Let's be honest, here: 19 songs is insane.AG: In general, absolutely. But in this case, I don't think so. Most of the tunes clock in around two minutes, kind of like a film soundtrack, thus the album's title. And yeah, 19 five-minute tracks would've been a bit much.
Q: To this point, your previous albums are traditionally formatted: Ten-ish cuts, four-ish minutes per cut. What happened here?
AG: The music dictated the format. I was in a compositional space in which the melody or the groove was enough—no improvisation or elaboration necessary. It wasn't by design; the songs told me what to do, and the songs, for the most part, said, “Two minutes is cool, dude."
Q: If there a precedent for this, something that specifically pointed you in this direction?
AG: Two obscure entities and two others that're more mainstream.
Between the late 1960s and early 1990s, dozens of European composers dropped hundreds of albums that fell under the umbrella of “Library Music," meaning these songs were kept in a metaphorical library for film and television producers looking for soundtrack songs. I'd liken this album, what with its stylistic diversity, its overriding sense of funk, and its quick cuts, to those projects. Then there's composer and arranger David Axelrod, who was also fond of short, funky material.
On the more common tip, the Ocean's 11 soundtrack is another touchstone, as are the Beastie Boys' instrumental recordings.
Q: What are some of your favorite cuts on the album?
AG: I very much dig the opening track, “Bullish and Bearish." It's a bass and piano unison groove with a chill beat, and it sets the album's mood perfectly. “Bo Knows" and “My Favorite Sports" are homages to the New Jack Swing era, and are super-fun. And “Alt Af" is a groove-shifting cut that's, well, alt af.
Q: Finally, who do you envision starring in the movie that adopts this soundtrack?
AG: Anne Hathaway, the entire Ted Lasso cast, Paul McCartney, and Idris Elba. That's doable, right?
To schedule an interview, or to request artwork or downloadable tracks, please write [email protected].
